I’ve loved this powerful, remarkable score since its debut as a concept album (yes, dear readers….vinyl…which I still have) in 1984. It’s this gorgeous music and lyrics (Bjorn Ulvaeus and Benny Andersson and Tim Rice respectively) that keeps Chess so poignant and relevant. The only other time I’ve seen this in person on stage is many years ago at UB and I’ve seen the concert version on TV, and even in that box-in-your-living room medium, the storytelling the music delivers is amazing.

Lancaster Opera House tackled this show quite brilliantly. In brief, the story centers around international relations between the United States and the former Soviet Union a handful of years before the Cold War ended. The competition is stiff between the US champ Freddie (Jacob Albarella) and the Soviet contender Anatoly (Merrick Allen). They’re playing in Bangkok where there are plenty of local temptations. Tensions are high, allegations are made, and…forbidden love is in the air. I know…it’s a lot to pack in and Rice’s lyrics move the story along with Richard Nelson’s deftly written script. If the story dates itself in the details, the timelessness of the music and lyrics more than make up for it.

The live orchestra under Fran Landis’ baton was solid. Sound in this house is always tricky and 15 live musicians on a balcony could challenge the acoustic and balance, but this was managed very well and every note was heard and not overpowering. It would be hard to overpower the vocal talents of this cast, actually. The solo singing was incredible and the ensemble pieces were sublime.

Director J. Michael Landis did wondrous things with a large cast on a fairly shallow stage. Lou Iannone’s set designer aptly used terraced stairs and ramp to create spaces. It’s all just window dressing for the cast that gives this story life. Emily Yancey is breathtaking as Florence, the “second” (think of her as a manager) for Freddie. Her voice soars in the signature selections “Someone Else’s Story,” “Nobody’s Side,” and “Heaven Help My Heart.” When she encounters Anatoly’s wife Svetlana (Sydney Conrad), their “I Know Him So Well” duet is heart-breakingly beautiful. Their voices were so well paired and the emotion was so strong, it was a highlight for sure.

Their were other vocal highlights, too. Jon May as Molokov (Anatoly’s second) maintained a Russian accent in speaking and song and the “Quartet (A Model of Decorum and Tranquility)” with Florence, Anatoly and the Arbiter (Nathan Andrew Miller) was its own chess game and very well played.

David Bondrow was perfectly sleazy as the hired-gun publicist for Freddie, always looking for the opportunity and spin.

My one disappointment was Freddie: Jacob Albarella is an outstanding actor and he has risen above so many roles, I just wasn’t feeling it here. He did find his voice for a show-stopping rendition of “Pity the Child” near the end of Act II and that was magnificent.

My only other quibble was the Act I fit and face for Florence: the look was more ’90s punk-goth and not ’80s American with European roots. Her Act II look was dramatically different and was more appropriate to her character and the time.

Chess is a long show (just under three hours) with a 15-minute intermission but you won’t notice the time. The storytelling and performance is that incredibly good.

Please take the time to read the Director’s Note on page four of the program. J. Michael Landis shares his personal passion for this story with some insight into this production.

Chess runs until April 13: find details at http://www.lancasteropera.org.

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